summaryrefslogtreecommitdiff
path: root/1824.txt
diff options
context:
space:
mode:
Diffstat (limited to '1824.txt')
-rw-r--r--1824.txt1199
1 files changed, 1199 insertions, 0 deletions
diff --git a/1824.txt b/1824.txt
new file mode 100644
index 0000000..e27dc0c
--- /dev/null
+++ b/1824.txt
@@ -0,0 +1,1199 @@
+The Project Gutenberg EBook of Peace Manoeuvres, by Richard Harding Davis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Peace Manoeuvres
+
+Author: Richard Harding Davis
+
+Release Date: May 12, 2006 [EBook #1824]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES ***
+
+
+
+
+Produced by Don Lainson
+
+
+
+
+
+PEACE MANOEUVRES
+
+By Richard Harding Davis
+
+
+
+
+The scout stood where three roads cut three green tunnels in the pine
+woods, and met at his feet. Above his head an aged sign-post pointed
+impartially to East Carver, South Carver, and Carver Centre, and left
+the choice to him.
+
+The scout scowled and bit nervously at his gauntlet. The choice was
+difficult, and there was no one with whom he could take counsel. The
+three sun-shot roads lay empty, and the other scouts, who, with him,
+had left the main column at sunrise, he had ordered back. They were to
+report that on the right flank, so far, at least, as Middleboro, there
+was no sign of the enemy. What lay beyond, it now was his duty to
+discover. The three empty roads spread before him like a picture
+puzzle, smiling at his predicament. Whichever one he followed left two
+unguarded. Should he creep upon for choice Carver Centre, the enemy,
+masked by a mile of fir trees, might advance from Carver or South
+Carver, and obviously he could not follow three roads at the same time.
+He considered the better strategy would be to wait where he was,
+where the three roads met, and allow the enemy himself to disclose his
+position. To the scout this course was most distasteful. He assured
+himself that this was so because, while it were the safer course, it
+wasted time and lacked initiative. But in his heart he knew that was not
+the reason, and to his heart his head answered that when one's country
+is at war, when fields and fire-sides are trampled by the iron heels
+of the invader, a scout should act not according to the dictates of
+his heart, but in the service of his native land. In the case of this
+particular patriot, the man and scout were at odds. As one of the
+Bicycle Squad of the Boston Corps of Cadets, the scout knew what, at
+this momentous crisis in her history, the commonwealth of Massachusetts
+demanded of him. It was that he sit tight and wait for the hated
+foreigners from New York City, New Jersey, and Connecticut to show
+themselves. But the man knew, and had known for several years, that
+on the road to Carver was the summer home of one Beatrice Farrar. As
+Private Lathrop it was no part of his duty to know that. As a man and
+a lover, and a rejected lover at that, he could not think of anything
+else. Struggling between love and duty the scout basely decided to leave
+the momentous question to chance. In the front tire of his bicycle was
+a puncture, temporarily effaced by a plug. Laying the bicycle on the
+ground, Lathrop spun the front wheel swiftly.
+
+"If," he decided, "the wheel stops with the puncture pointing at Carver
+Centre, I'll advance upon Carver Centre. Should it point to either of
+the two other villages, I'll stop here.
+
+"It's a two to one shot against me, any way," he growled.
+
+Kneeling in the road he spun the wheel, and as intently as at Monte
+Carlo and Palm Beach he had waited for other wheels to determine his
+fortune, he watched it come to rest. It stopped with the plug pointing
+back to Middleboro.
+
+The scout told himself he was entitled to another trial. Again he spun
+the wheel. Again the spokes flashed in the sun. Again the puncture
+rested on the road to Middleboro.
+
+"If it does that once more," thought the scout, "it's a warning that
+there is trouble ahead for me at Carver, and all the little Carvers."
+
+For the third time the wheel flashed, but as he waited for the impetus
+to die, the sound of galloping hoofs broke sharply on the silence. The
+scout threw himself and his bicycle over the nearest stone wall, and,
+unlimbering his rifle, pointed it down the road.
+
+He saw approaching a small boy, in a white apron, seated in a white
+wagon, on which was painted, "Pies and Pastry. East Wareham." The boy
+dragged his horse to an abrupt halt.
+
+"Don't point that at me!" shouted the boy.
+
+"Where do you come from?" demanded the scout.
+
+"Wareham," said the baker.
+
+"Are you carrying any one concealed in that wagon?"
+
+As though to make sure the baker's boy glanced apprehensively into
+the depths of his cart, and then answered that in the wagon he carried
+nothing but fresh-baked bread. To the trained nostrils of the scout this
+already was evident. Before sunrise he had breakfasted on hard tack
+and muddy coffee, and the odor of crullers and mince pie, still warm,
+assailed him cruelly. He assumed a fierce and terrible aspect.
+
+"Where are you going?" he challenged.
+
+"To Carver Centre," said the boy.
+
+To chance Lathrop had left the decision. He believed the fates had
+answered.
+
+Dragging his bicycle over the stone wall, he fell into the road.
+
+"Go on," he commanded. "I'll use your cart for a screen. I'll creep
+behind the enemy before he sees me."
+
+The baker's boy frowned unhappily.
+
+"But supposing," he argued, "they see you first, will they shoot?"
+
+The scout waved his hand carelessly.
+
+"Of course," he cried.
+
+"Then," said the baker, "my horse will run away!"
+
+"What of it?" demanded the scout. "Are Middleboro, South Middleboro,
+Rock, Brockton, and Boston to fall? Are they to be captured because
+you're afraid of your own horse? They won't shoot REAL bullets! This is
+not a real war. Don't you know that?"
+
+The baker's boy flushed with indignation.
+
+"Sure, I know that," he protested; "but my horse--HE don't know that!"
+
+Lathrop slung his rifle over his shoulder and his leg over his bicycle.
+
+"If the Reds catch you," he warned, in parting, "they'll take everything
+you've got."
+
+"The Blues have took most of it already," wailed the boy. "And just as
+they were paying me the battle begun, and this horse run away, and I
+couldn't get him to come back for my money."
+
+"War," exclaimed Lathrop morosely, "is always cruel to the innocent." He
+sped toward Carver Centre. In his motor car, he had travelled the road
+many times, and as always his goal had been the home of Miss Beatrice
+Farrar, he had covered it at a speed unrecognized by law. But now he
+advanced with stealth and caution. In every clump of bushes he saw an
+ambush. Behind each rock he beheld the enemy.
+
+In a clearing was a group of Portuguese cranberry pickers, dressed as
+though for a holiday. When they saw the man in uniform, one of the women
+hailed him anxiously.
+
+"Is the parade coming?" she called.
+
+"Have you seen any of the Reds?" Lathrop returned.
+
+"No," complained the woman. "And we been waiting all morning. When will
+the parade come?"
+
+"It's not a parade," said Lathrop, severely. "It's a war!"
+
+The summer home of Miss Farrar stood close to the road. It had been so
+placed by the farmer who built it, in order that the women folk might
+sit at the window and watch the passing of the stage-coach and the
+peddler. Great elms hung over it, and a white fence separated the road
+from the narrow lawn. At a distance of a hundred yards a turn brought
+the house into view, and at this turn, as had been his manoeuvre at
+every other possible ambush, Lathrop dismounted and advanced on foot. Up
+to this moment the road had been empty, but now, in front of the Farrar
+cottage, it was blocked by a touring-car and a station wagon. In the
+occupants of the car he recognized all the members of the Farrar
+family, except Miss Farrar. In the station wagon were all of the Farrar
+servants. Miss Farrar herself was leaning upon the gate and waving them
+a farewell. The touring-car moved off down the road; the station wagon
+followed; Miss Farrar was alone. Lathrop scorched toward her, and when
+he was opposite the gate, dug his toes in the dust and halted. When he
+lifted his broad-brimmed campaign hat, Miss Farrar exclaimed both with
+surprise and displeasure. Drawing back from the gate she held herself
+erect. Her attitude was that of one prepared for instant retreat. When
+she spoke it was in tones of extreme disapproval.
+
+"You promised," said the girl, "you would not come to see me."
+
+Lathrop, straddling his bicycle, peered anxiously down the road.
+
+"This is not a social call," he said. "I'm on duty. Have you seen the
+Reds?"
+
+His tone was brisk and alert, his manner preoccupied. The ungraciousness
+of his reception did not seem in the least to disconcert him.
+
+But Miss Farrar was not deceived. She knew him, not only as a persistent
+and irrepressible lover, but as one full of guile, adroit in tricks,
+fertile in expedients. He was one who could not take "No" for an
+answer--at least not from her. When she repulsed him she seemed to grow
+in his eyes only the more attractive.
+
+"It is not the lover who comes to woo," he was constantly explaining,
+"but the lover's WAY of wooing."
+
+Miss Farrar had assured him she did not like his way. She objected
+to being regarded and treated as a castle that could be taken only by
+assault. Whether she wished time to consider, or whether he and his
+proposal were really obnoxious to her, he could not find out. His policy
+of campaign was that she, also, should not have time to find out. Again
+and again she had agreed to see him only on the condition that he would
+not make love to her. He had promised again and again, and had failed
+to keep that promise. Only a week before he had been banished from her
+presence, to remain an exile until she gave him permission to see her
+at her home in New York. It was not her purpose to return there for two
+weeks, and yet here he was, a beggar at her gate. It might be that he
+was there, as he said, "on duty," but her knowledge of him and of the
+doctrine of chances caused her to doubt it.
+
+"Mr. Lathrop!" she began, severely.
+
+As though to see to whom she had spoken Lathrop glanced anxiously over
+his shoulder. Apparently pained and surprised to find that it was to him
+she had addressed herself, he regarded her with deep reproach. His eyes
+were very beautiful. It was a fact which had often caused Miss Farrar
+extreme annoyance.
+
+He shook his head sadly.
+
+"'Mr. Lathrop?'" he protested. "You know that to you I am always
+'Charles--Charles the Bold,' because I am bold to love you; but never
+'Mr. Lathrop,' unless," he went on briskly, "you are referring to a
+future state, when, as Mrs. Lathrop, you will make me--"
+
+Miss Farrar had turned her back on him, and was walking rapidly up the
+path.
+
+"Beatrice," he called. "I am coming after you!"
+
+Miss Farrar instantly returned and placed both hands firmly upon the
+gate.
+
+"I cannot understand you!" she said. "Don't you see that when you act
+as you do now, I can't even respect you? How do you think I could ever
+care, when you offend me so? You jest at what you pretend is the most
+serious thing in your life. You play with it--laugh at it!"
+
+The young man interrupted her sharply.
+
+"It's like this," he said. "When I am with you I am so happy I can't be
+serious. When I am NOT with you, it is SO serious that I am utterly and
+completely wretched. You say my love offends you, bores you! I am sorry,
+but what, in heaven's name, do you think your NOT loving me is doing to
+ME? I am a wreck! I am a skeleton! Look at me!"
+
+He let his bicycle fall, and stood with his hands open at his sides, as
+though inviting her to gaze upon the ruin she had caused.
+
+Four days of sun and rain, astride of a bicycle, without food or sleep,
+had drawn his face into fine, hard lines, had bronzed it with a healthy
+tan. His uniform, made by the same tailor that fitted him with polo
+breeches, clung to him like a jersey. The spectacle he presented was
+that of an extremely picturesque, handsome, manly youth, and of that
+fact no one was better aware than himself.
+
+"Look at me," he begged, sadly.
+
+Miss Farrar was entirely unimpressed.
+
+"I am!" she returned, coldly. "I never saw you looking so well--and you
+know it." She gave a gasp of comprehension. "You came here because you
+knew your uniform was becoming!"
+
+Lathrop regarded himself complacently.
+
+"Yes, isn't it?" he assented. "I brought on this war in order to wear
+it. If you don't mind," he added, "I think I'll accept your invitation
+and come inside. I've had nothing to eat in four days."
+
+Miss Farrar's eyes flashed indignantly.
+
+"You're NOT coming inside," she declared; "but if you'll only promise to
+go away at once, I'll bring you everything in the house."
+
+"In that house," exclaimed Lathrop, dramatically, "there's only one
+thing that I desire, and I want that so badly that 'life holds no charm
+without you.'"
+
+Miss Farrar regarded him steadily.
+
+"Do you intend to drive me away from my own door, or will you go?"
+
+Lathrop picked his wheel out of the dust.
+
+"Good-by," he said. "I'll come back when you have made up your mind."
+
+In vexation Miss Farrar stamped her foot upon the path.
+
+"I HAVE made up my mind!" she protested.
+
+"Then," returned Lathrop, "I'll come back when you have changed it."
+
+He made a movement as though to ride away, but much to Miss Farrar's
+dismay, hastily dismounted. "On second thoughts," he said, "it isn't
+right for me to leave you. The woods are full of tramps and hangers-on
+of the army. You're not safe. I can watch this road from here as well as
+from anywhere else, and at the same time I can guard you."
+
+To the consternation of Miss Farrar he placed his bicycle against the
+fence, and, as though preparing for a visit, leaned his elbows upon it.
+
+"I do not wish to be rude," said Miss Farrar, "but you are annoying me.
+I have spent fifteen summers in Massachusetts, and I have never seen a
+tramp. I need no one to guard me."
+
+"If not you," said Lathrop easily, "then the family silver. And think
+of your jewels, and your mother's jewels. Think of yourself in a house
+filled with jewels, and entirely surrounded by hostile armies! My duty
+is to remain with you."
+
+Miss Farrar was so long in answering, that Lathrop lifted his head
+and turned to look. He found her frowning and gazing intently into the
+shadow of the woods, across the road. When she felt his eyes upon her
+she turned her own guiltily upon him. Her cheeks were flushed and her
+face glowed with some unusual excitement.
+
+"I wish," she exclaimed breathlessly--"I wish," she repeated, "the Reds
+would take you prisoner!"
+
+"Take me where?" asked Lathrop.
+
+"Take you anywhere!" cried Miss Farrar. "You should be ashamed to talk
+to me when you should be looking for the enemy!"
+
+"I am WAITING for the enemy," explained Lathrop. "It's the same thing."
+
+Miss Farrar smiled vindictively. Her eyes shone. "You need not wait
+long," she said. There was a crash of a falling stone wall, and of
+parting bushes, but not in time to give Lathrop warning. As though from
+the branches of the trees opposite two soldiers fell into the road;
+around his hat each wore the red band of the invader; each pointed his
+rifle at Lathrop.
+
+"Hands up!" shouted one. "You're my prisoner!" cried the other.
+
+Mechanically Lathrop raised his hands, but his eyes turned to Miss
+Farrar.
+
+"Did you know?" he asked.
+
+"I have been watching them," she said, "creeping up on you for the last
+ten minutes."
+
+Lathrop turned to the two soldiers, and made an effort to smile.
+
+"That was very clever," he said, "but I have twenty men up the road, and
+behind them a regiment. You had better get away while you can."
+
+The two Reds laughed derisively. One, who wore the stripes of a
+sergeant, answered: "That won't do! We been a mile up the road, and you
+and us are the only soldiers on it. Gimme the gun!"
+
+Lathrop knew he had no right to refuse. He had been fairly surprised,
+but he hesitated. When Miss Farrar was not in his mind his amateur
+soldiering was to him a most serious proposition. The war game was a
+serious proposition, and that, through his failure for ten minutes to
+regard it seriously, he had been made a prisoner, mortified him keenly.
+That his humiliation had taken place in the presence of Beatrice Farrar
+did not lessen his discomfort, nor did the explanation he must later
+make to his captain afford him any satisfaction. Already he saw himself
+playing the star part in a court-martial. He shrugged his shoulders and
+surrendered his gun.
+
+As he did so he gloomily scrutinized the insignia of his captors.
+
+"Who took me?" he asked.
+
+"WE took you," exclaimed the sergeant.
+
+"What regiment?" demanded Lathrop, sharply. "I have to report who took
+me; and you probably don't know it, but your collar ornaments are upside
+down." With genuine exasperation he turned to Miss Farrar.
+
+"Lord!" he exclaimed, "isn't it bad enough to be taken prisoner, without
+being taken by raw recruits that can't put on their uniforms?"
+
+The Reds flushed, and the younger, a sandy-haired, rat-faced youth,
+retorted angrily: "Mebbe we ain't strong on uniforms, beau," he snarled,
+"but you've got nothing on us yet, that I can see. You look pretty with
+your hands in the air, don't you?"
+
+"Shut up," commanded the other Red. He was the older man, heavily built,
+with a strong, hard mouth and chin, on which latter sprouted a three
+days' iron-gray beard. "Don't you see he's an officer? Officers don't
+like being took by two-spot privates."
+
+Lathrop gave a sudden start. "Why," he laughed, incredulously, "don't
+you know--" He stopped, and his eyes glanced quickly up and down the
+road.
+
+"Don't we know what?" demanded the older Red, suspiciously.
+
+"I forgot," said Lathrop. "I--I must not give information to the
+enemy--"
+
+For an instant there was a pause, while the two Reds stood irresolute.
+Then the older nodded the other to the side of the road, and in whispers
+they consulted eagerly.
+
+Miss Farrar laughed, and Lathrop moved toward her.
+
+"I deserve worse than being laughed at," he said. "I made a strategic
+mistake. I should not have tried to capture you and an army corps at the
+same time."
+
+"You," she taunted, "who were always so keen on soldiering, to be taken
+prisoner," she lowered her voice, "and by men like that! Aren't they
+funny?" she whispered, "and East Side and Tenderloin! It made me
+homesick to hear them! I think when not in uniform the little one drives
+a taxicab, and the big one is a guard on the elevated."
+
+"They certainly are very 'New York,'" assented Lathrop, "and very
+tough."
+
+"I thought," whispered Miss Farrar, "those from New York with the Red
+Army were picked men."
+
+"What does it matter?" exclaimed Lathrop. "It's just as humiliating to
+be captured by a ballroom boy as by a mere millionaire! I can't insist
+on the invading army being entirely recruited from Harvard graduates."
+
+The two Reds either had reached a decision, or agreed that they could
+not agree, for they ceased whispering, and crossed to where Lathrop
+stood.
+
+"We been talking over your case," explained the sergeant, "and we see
+we are in wrong. We see we made a mistake in taking you prisoner. We had
+ought to shot you dead. So now we're going to shoot you dead."
+
+"You can't!" objected Lathrop. "It's too late. You should have thought
+of that sooner."
+
+"I know," admitted the sergeant, "but a prisoner is a hell of a
+nuisance. If you got a prisoner to look after you can't do your own
+work; you got to keep tabs on him. And there ain't nothing in it for the
+prisoner, neither. If we take you, you'll have to tramp all the way to
+our army, and all the way back. But, if you're dead, how different! You
+ain't no bother to anybody. You got a half holiday all to yourself, and
+you can loaf around the camp, so dead that they can't make you work, but
+not so dead you can't smoke or eat." The sergeant smiled ingratiatingly.
+In a tempting manner he exhibited his rifle. "Better be dead," he urged.
+
+"I'd like to oblige you," said Lathrop, "but it's against the rules. You
+CAN'T shoot a prisoner."
+
+The rat-faced soldier uttered an angry exclamation. "To hell with the
+rules!" he cried. "We can't waste time on him. Turn him loose!"
+
+The older man rounded on the little one savagely. The tone in which he
+addressed him was cold, menacing, sinister. His words were simple, but
+his eyes and face were heavy with warning.
+
+"Who is running this?" he asked.
+
+The little soldier muttered, and shuffled away. From under the brim of
+his campaign hat, his eyes cast furtive glances up and down the road.
+As though anxious to wipe out the effect of his comrade's words, the
+sergeant addressed Lathrop suavely and in a tone of conciliation.
+
+"You see," he explained, "him and me are scouts. We're not supposed to
+waste time taking prisoners. So, we'll set you free." He waved his hand
+invitingly toward the bicycle. "You can go!" he said.
+
+To Miss Farrar's indignation Lathrop, instead of accepting his freedom,
+remained motionless.
+
+"I can't!" he said. "I'm on post. My captain ordered me to stay in front
+of this house until I was relieved."
+
+Miss Farrar, amazed at such duplicity, exclaimed aloud:
+
+"He is NOT on post!" she protested. "He's a scout! He wants to stop
+here, because--because--he's hungry. I wouldn't have let you take him
+prisoner, if I had not thought you would take him away with you." She
+appealed to the sergeant. "PLEASE take him away," she begged.
+
+The sergeant turned sharply upon his prisoner.
+
+"Why don't you do what the lady wants?" he demanded.
+
+"Because I've got to do what my captain wants," returned Lathrop, "and
+he put me on sentry-go, in front of this house."
+
+With the back of his hand, the sergeant fretfully scraped the three
+days' growth on his chin. "There's nothing to it," he exclaimed, "but
+for to take him with us. When we meet some more Reds we'll turn him
+over. Fall in!" he commanded.
+
+"No!" protested Lathrop. "I don't want to be turned over. I've got a
+much better plan. YOU don't want to be bothered with a prisoner. I don't
+want to be a prisoner. As you say, I am better dead. You can't shoot
+a prisoner, but if he tries to escape you can. I'll try to escape. You
+shoot me. Then I return to my own army, and report myself dead. That
+ends your difficulty and saves me from a court-martial. They can't
+court-martial a corpse."
+
+The face of the sergeant flashed with relief and satisfaction. In his
+anxiety to rid himself of his prisoner, he lifted the bicycle into the
+road and held it in readiness.
+
+"You're all right!" he said, heartily. "You can make your getaway as
+quick as you like."
+
+But to the conspiracy Miss Farrar refused to lend herself.
+
+"How do you know," she demanded, "that he will keep his promise? He
+may not go back to his own army. He can be just as dead on my lawn as
+anywhere else!"
+
+Lathrop shook his head at her sadly.
+
+"How you wrong me!" he protested. "How dare you doubt the promise of a
+dying man? These are really my last words, and I wish I could think of
+something to say suited to the occasion, but the presence of strangers
+prevents."
+
+He mounted his bicycle. "'If I had a thousand lives to give,'" he
+quoted with fervor, "'I'd give them all to--'" he hesitated, and smiled
+mournfully on Miss Farrar. Seeing her flushed and indignant countenance,
+he added, with haste, "to the Commonwealth of Massachusetts!"
+
+As he started on his wheel slowly down the path, he turned to the
+sergeant.
+
+"I'm escaping," he explained. The Reds, with an enthusiasm undoubtedly
+genuine, raised their rifles, and the calm of the Indian summer was
+shattered by two sharp reports. Lathrop, looking back over his shoulder,
+waved one hand reassuringly.
+
+"Death was instantaneous," he called. He bent his body over the
+handle-bar, and they watched him disappear rapidly around the turn in
+the road.
+
+Miss Farrar sighed with relief.
+
+"Thank you very much," she said.
+
+As though signifying that to oblige a woman he would shoot any number of
+prisoners, the sergeant raised his hat.
+
+"Don't mention it, lady," he said. "I seen he was annoying you, and
+that's why I got rid of him. Some of them amateur soldiers, as soon as
+they get into uniform, are too fresh. He took advantage of you because
+your folks were away from home. But don't you worry about that. I'll
+guard this house until your folks get back."
+
+Miss Farrar protested warmly.
+
+"Really!" she exclaimed; "I need no one to guard me."
+
+But the soldier was obdurate. He motioned his comrade down the road.
+
+"Watch at the turn," he ordered; "he may come back or send some of the
+Blues to take us. I'll stay here and protect the lady."
+
+Again Miss Farrar protested, but the sergeant, in a benign and fatherly
+manner, smiled approvingly. Seating himself on the grass outside the
+fence, he leaned his back against the gatepost, apparently settling
+himself for conversation.
+
+"Now, how long might it have been," he asked, "before we showed up, that
+you seen us?"
+
+"I saw you," Miss Farrar said, "when Mr.--when that bicycle scout was
+talking to me. I saw the red bands on your hats among the bushes."
+
+The sergeant appeared interested.
+
+"But why didn't you let on to him?"
+
+Miss Farrar laughed evasively.
+
+"Maybe because I am from New York, too," she said. "Perhaps I wanted to
+see soldiers from my city take a prisoner."
+
+They were interrupted by the sudden appearance of the smaller soldier.
+On his rat-like countenance was written deep concern.
+
+"When I got to the turn," he began, breathlessly, "I couldn't see him.
+Where did he go? Did he double back through the woods, or did he have
+time to ride out of sight before I got there?"
+
+The reappearance of his comrade affected the sergeant strangely. He
+sprang to his feet, his under jaw protruding truculently, his eyes
+flashing with anger.
+
+"Get back," he snarled. "Do what I told you!"
+
+Under his breath he muttered words that, to Miss Farrar, were
+unintelligible. The little rat-like man nodded, and ran from them down
+the road. The sergeant made an awkward gesture of apology.
+
+"Excuse me, lady," he begged, "but it makes me hot when them rookies
+won't obey orders. You see," he ran on glibly, "I'm a reg'lar; served
+three years in the Philippines, and I can't get used to not having my
+men do what I say."
+
+Miss Farrar nodded, and started toward the house. The sergeant sprang
+quickly across the road.
+
+"Have you ever been in the Philippines, Miss?" he called. "It's a great
+country."
+
+Miss Farrar halted and shook her head. She was considering how far
+politeness required of her to entertain unshaven militiamen, who
+insisted on making sentries of themselves at her front gate.
+
+The sergeant had plunged garrulously into a confusing description of the
+Far East. He was clasping the pickets of the fence with his hands,
+and his eyes were fastened on hers. He lacked neither confidence nor
+vocabulary, and not for an instant did his tongue hesitate or his eyes
+wander, and yet in his manner there was nothing at which she could take
+offence. He appeared only amiably vain that he had seen much of the
+world, and anxious to impress that fact upon another. Miss Farrar was
+bored, but the man gave her no opportunity to escape. In consequence she
+was relieved when the noisy approach of an automobile brought him to
+an abrupt pause. Coming rapidly down the road was a large touring-car,
+filled with men in khaki. The sergeant gave one glance at it, and leaped
+across the road, taking cover behind the stone wall. Instantly he raised
+his head above it and shook his fist at Miss Farrar.
+
+"Don't tell," he commanded. "They're Blues in that car! Don't tell!"
+Again he sank from sight.
+
+Miss Farrar now was more than bored, she was annoyed. Why grown men
+should play at war so seriously she could not understand. It was absurd!
+She no longer would remain a party to it; and, lest the men in the car
+might involve her still further, she retreated hastily toward the house.
+As she opened the door the car halted at the gate, and voices called to
+her, but she pretended not to hear them, and continued up the stairs.
+Behind her the car passed noisily on its way.
+
+She mounted the stairs, and crossing a landing moved down a long hall,
+at the further end of which was her bedroom. The hall was uncarpeted,
+but the tennis shoes she wore made no sound, nor did the door of her
+bedroom when she pushed it open.
+
+On the threshold Miss Farrar stood quite still. A swift, sinking nausea
+held her in a vice. Her instinct was to scream and run, but her throat
+had tightened and gone dry, and her limbs trembled. Opposite the door
+was her dressing-table, and reflected in its mirror were the features
+and figure of the rat-like soldier. His back was toward her. With one
+hand he swept the dressing-table. The other, hanging at his side, held
+a revolver. In a moment the panic into which Miss Farrar had been thrown
+passed. Her breath and blood returned, and, intent only on flight, she
+softly turned. On the instant the rat-faced one raised his eyes, saw her
+reflected in the mirror, and with an oath, swung toward her. He drew the
+revolver close to his cheek, and looked at her down the barrel. "Don't
+move!" he whispered; "don't scream! Where are the jewels?"
+
+Miss Farrar was not afraid of the revolver or of the man. She did not
+believe either would do her harm. The idea of both the presence of the
+man in her room, and that any one should dare to threaten her was what
+filled her with repugnance. As the warm blood flowed again through her
+body her spirit returned. She was no longer afraid. She was, instead,
+indignant, furious.
+
+With one step she was in the room, leaving the road to the door open.
+
+"Get out of here," she commanded.
+
+The little man snarled, and stamped the floor. He shoved the gun nearer
+to her.
+
+"The jewels, damn you!" he whispered. "Do you want me to blow your fool
+head off? Where are the jewels?"
+
+"Jewels?" repeated Miss Farrar. "I have no jewels!"
+
+"You lie!" shrieked the little man. "He said the house was full of
+jewels. We heard him. He said he would stay to guard the jewels."
+
+Miss Farrar recognized his error. She remembered Lathrop's jest, and
+that it had been made while the two men were within hearing, behind the
+stone wall.
+
+"It was a joke!" she cried. "Leave at once!" She backed swiftly toward
+the open window that looked upon the road. "Or I'll call your sergeant!"
+
+"If you go near that window or scream," whispered the rat-like one,
+"I'll shoot!"
+
+A heavy voice, speaking suddenly from the doorway, shook Miss Farrar's
+jangled nerves into fresh panic.
+
+"She won't scream," said the voice.
+
+In the door Miss Farrar saw the bulky form of the sergeant, blocking her
+escape.
+
+Without shifting his eyes from Miss Farrar, the man with the gun cursed
+breathlessly at the other. "Why didn't you keep her away?" he panted.
+
+"An automobile stopped in front of the gate," explained the sergeant.
+"Have you got them?" he demanded.
+
+"No!" returned the other. "Nothing! She won't tell where they are."
+
+The older man laughed. "Oh, yes, she'll tell," he whispered. His voice
+was still low and suave, but it carried with it the weight of a threat,
+and the threat, although unspoken, filled Miss Farrar with alarm. Her
+eyes, wide with concern, turned fearfully from one man to the other.
+
+The sergeant stretched his hands toward her, the fingers working and
+making clutches in the air. The look in his eyes was quite terrifying.
+
+"If you don't tell," he said slowly, "I'll choke it out of you!"
+
+If his intention was to frighten the girl, he succeeded admirably. With
+her hands clasped to her throat, Miss Farrar sank against the wall. She
+saw no chance of escape. The way to the door was barred, and should she
+drop to the garden below, from the window, before she could reach the
+road the men would overtake her. Even should she reach the road, the
+house nearest was a half mile distant.
+
+The sergeant came close, his fingers opening and closing in front of her
+eyes. He raised his voice to a harsh, bellowing roar. "I'm going to make
+you tell!" he shouted. "I'm going to choke it out of you!"
+
+Although she was alone in the house, although on every side the pine
+woods encompassed her, Miss Farrar threw all her strength into one long,
+piercing cry for help. And upon the instant it was answered. From the
+hall came the swift rush of feet. The rat-like one swung toward it. From
+his revolver came a report that shook the room, a flash and a burst of
+smoke, and through it Miss Farrar saw Lathrop hurl himself. He dived at
+the rat-like one, and as on the foot-ball field he had been taught to
+stop a runner, flung his arms around the other's knees. The legs of the
+man shot from under him, his body cut a half circle through the air, and
+the part of his anatomy to first touch the floor was his head. The
+floor was of oak, and the impact gave forth a crash like the smash of a
+base-ball bat, when it drives the ball to centre field. The man did not
+move. He did not even groan. In his relaxed fingers the revolver lay,
+within reach of Lathrop's hand. He fell upon it and, still on his knees,
+pointed it at the sergeant.
+
+"You're MY prisoner, now!" he shouted cheerfully. "Hands up!"
+
+The man raised his arms slowly, as if he were lifting heavy dumb-bells.
+
+"The lady called for help," he said. "I came to help her."
+
+"No! No!" protested the girl. "He did NOT help me! He said he would
+choke me if I didn't--"
+
+"He said he would--what!" bellowed Lathrop. He leaped to his feet, and
+sent the gun spinning through the window. He stepped toward the man
+gingerly, on the balls of his feet, like one walking on ice. The man
+seemed to know what that form of approach threatened, for he threw his
+arms into a position of defence.
+
+"You bully!" whispered Lathrop. "You coward! You choke women, do you?"
+
+He shifted from one foot to the other, his body balancing forward,
+his arms swinging limply in front of him. With his eyes, he seemed to
+undress the man, as though choosing a place to strike.
+
+"I made the same mistake you did," he taunted. "I should have killed you
+first. Now I am going to do it!"
+
+He sprang at the man, his chin still sunk on his chest, but with his
+arms swinging like the spokes of a wheel. His opponent struck back
+heavily, violently, but each move of his arm seemed only to open up
+some vulnerable spot. Blows beat upon his chin, upon his nose, his eyes;
+blows jabbed him in the ribs, drove his breath from his stomach, ground
+his teeth together, cut the flesh from his cheeks. He sank to his knees,
+with his arms clasping his head.
+
+"Get up!" roared Lathrop. "Stand up to it, you coward!"
+
+But the man had no idea of standing up to it. Howling with pain, he
+scrambled toward the door, and fled staggering down the hall.
+
+At the same moment the automobile that a few minutes before had passed
+up the road came limping to the gate, and a half-dozen men in uniform
+sprang out of it. From the window Lathrop saw them spread across the
+lawn and surround the house.
+
+"They've got him!" he said. He pointed to the prostrate figure on the
+floor. "He and the other one," he explained, breathlessly, "are New York
+crooks! They have been looting in the wake of the Reds, disguised as
+soldiers. I knew they weren't even amateur soldiers by the mistakes in
+their make-up, and I made that bluff of riding away so as to give them
+time to show what the game was. Then, that provost guard in the motor
+car stopped me, and when they said who they were after, I ordered them
+back here. But they had a flat tire, and my bicycle beat them."
+
+In his excitement he did not notice that the girl was not listening,
+that she was very pale, that she was breathing quickly, and trembling.
+
+"I'll go tell them," he added, "that the other one they want is up
+here."
+
+Miss Farrar's strength instantly returned.
+
+With a look of terror at the now groaning figure on the floor, she
+sprang toward Lathrop, with both hands clutching him by his sleeves.
+
+"You will NOT!" she commanded. "You will not leave me alone!"
+
+Appealingly she raised her face to his startled countenance. With
+a burst of tears she threw herself into his arms. "I'm afraid!" she
+sobbed. "Don't leave me. Please, no matter what I say, never leave me
+again!"
+
+Between bewilderment and joy, the face of Lathrop was unrecognizable. As
+her words reached him, as he felt the touch of her body in his arms, and
+her warm, wet cheek against his own, he drew a deep sigh of content, and
+then, fearfully and tenderly, held her close.
+
+After a pause, in which peace came to all the world, he raised his head.
+
+"Don't worry!" he said. "You can BET I won't leave you!"
+
+
+
+
+
+End of Project Gutenberg's Peace Manoeuvres, by Richard Harding Davis
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES ***
+
+***** This file should be named 1824.txt or 1824.zip *****
+This and all associated files of various formats will be found in:
+ http://www.gutenberg.org/1/8/2/1824/
+
+Produced by Don Lainson
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+ http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.